Joseph R. McCarthy. The question, therefore, might be asked, whyspend so much text on such an event? Carleton provides a detailed, ex-tensive account with references to parallel events in Austin and Wash-ington, D.C. His writing and research is excellent. If we would all ingestthis history it might well serve as an antidote to block future outbreaksof the red-scare lesion that lurks in American society.Colorado State University DAVID MCCOMBViews and Viewmakers of Urban America: Lithographs of Towns and Cities inthe United States and Canada, Notes on the Artists and Publishers, and aUnion Catalog of Their Work, 1825- 1925. By John W. Reps. (Colum-bia, Missouri: The University of Missouri Press, 1984.Pp. xvi+570. Preface, color plates, tables, figures, bibliography,black and white plates, introduction to the catalog, abbreviations oflocations, abbreviations of catalogs and checklists, catalog acknowl-edgments, index, index to the catalog. $89.50.)In many ways, Views and Viewmakers completes the work of Harry T.Peters, whose America on Stone (1931) catalogued lithographs and lith-ographers as a key to "the day-to-day life of our ancestors, the moreenduring romance of our past." While Peters favored the antebellumperiod and genre views, Reps has pursued the romance of our cities inthe production of urban views through the twentieth century. This vol-ume includes a thorough history of the medium, biographical essays onartists and publishers, a geographical listing of views known to date andtheir locations, as well as a detailed bibliography. Fine reproductions(many familiar to Reps's readers) complement the text, making this ahandsome reference guide for many fields.Flattering images of North American cities were the collaborativeeffort of publisher, printer, artist, and sales agent. Frontier cities usedthem to lure labor and capital to places like Indianapolis, Cheyenne,Fort Worth, or Austin (described in a typical view of 1895 as "The MostBeautiful and Wealthiest City of its Size in the United States" [RepsCatalog 3948]). Early viewmakers adorned their work with vignettes ofimportant buildings and businesses-most made important by patron-age solicited by the artist, who often doubled as the agent. By the 189osconventions demanded the bird's-eye view, showing city and sceneryfrom a spectacular height. It is easy to see how aerial photography fi-nally made these lithographs obsolete.Gradual changes in the style and content of these views from 1825 to1925 suggest both new markets and new assumptions about the charac-ter of American cities. However, Reps stays clear of speculative discus-